http://if.com.au/ Inside Film - Australia en-us http://blogs.law.harvard.edu/tech/rss info@if.com.au (The Editor) http://if.com.au/2013/06/19/article/Key-programming-exec-to-depart-ABC-TV/QXLUHALZLZ.html http://if.com.au/2013/06/19/article/Key-programming-exec-to-depart-ABC-TV/QXLUHALZLZ.html Don Groves <p> Tim Brooke-Hunt, ABC TV’s controller of children’s content, said he will step down in September to pursue new opportunities in children's entertainment. In the past six years he oversaw the launch of ABC3 and ABC4Kids, which reach almost 60% of Australian children aged up to 12 years. Children's programs are the most popular content on ABC TV's iview catch-up service, accounting for more than 2 million program plays monthly. "I leave ABC TV with renewed respect for public broadcasting, with gratitude to the talented producers of our programs,” he said.</p> <p> Richard Finlayson, the newly appointed Director of ABC Television, said: "There is no doubt that the dominance of ABC TV in the children’s area has been one of the great success stories for the ABC and this has been achieved under Tim’s leadership.”</p> <p> Brooke-Hunt worked for Beyond International and the Yoram Gross Studios before starting his own company, Sticky Pictures, in 2002.</p> Wed, 19 Jun 2013 16:31:44 +1000 http://if.com.au/2013/06/18/article/SBS-argues-the-case-for-more-funding/AXMJMVWZOV.html http://if.com.au/2013/06/18/article/SBS-argues-the-case-for-more-funding/AXMJMVWZOV.html Don Groves <p> SBS managing director Michael Ebeid has called for increased government funding to enable the broadcaster to commission more Australian content.</p> <p> “We will continue to advocate for more funding to deliver the level of Australian content that we believe our audiences should be getting and which we think is needed for the health of the local production sector,” Ebeid said in the text of a speech which was delivered on his behalf by SBS head of TV and online content Tony Iffland at the Jobs, Dollars, Hearts and Minds conference in Canberra.</p> <p> Ebeid indicated SBS would have supported the Convergence Review recommendation that the Federal Government adopt a local content quota of 28%, which would have been a substantial lift from the current level of about 16%, and said SBS would welcome increasing the producer offset for TV drama.</p> <p> The speech highlighted several upcoming SBS shows including Better Man, a drama about the last Australian man hung overseas in Singapore in 2005, which stars Claudia Karvan, David Wenham and Bryan Brown and airs next month.Œ “It gets SBS back into the drama genre for the first time in three years with content that inspires change,” he said.</p> <p> Also flagged were Once Upon a Time in Punchbowl, which will give audiences previously unheard perspectives by those involved and affected by the 2005 Cronulla Riots, due to screen in November, accompanied by an Outreach program in the local community; and Legally Brown, a new series featuring Nazeem Hussain which will explore social and racial divisions through comedy to encourage Australians to better value diversity.</p> <p> The speech continued, “Making local content and telling Australian stories is expensive but it’s essential for the development of our society and capturing our stories for future generations.</p> <p> “The fact is that SBS is lean and agile. We deliver impactful content, despite operating on one fifth of the average budget of all the other broadcasters. But we want to, we need to, and we are capable of doing more. “</p> Tue, 18 Jun 2013 13:34:31 +1000 http://if.com.au/2013/06/18/article/ABC-boss-vows-to-tackle-the-drift-away-from-linear-TV/UVNNSRIRNJ.html http://if.com.au/2013/06/18/article/ABC-boss-vows-to-tackle-the-drift-away-from-linear-TV/UVNNSRIRNJ.html Don Groves <p> Just 11 days into his job as the ABC’s Director of Television, Richard Finlayson has affirmed the broadcaster’s commitment to Australian drama and children’s programming.</p> <p> In his first public address Finlayson identified one of his major challenges as appealing to audiences who are increasingly watching content online.Œ “According to LEK consulting, over 50% of viewing in the 18-24 demographic is already on-demand,” he told Screen Australia’s Jobs, Dollars, Hearts and Minds conference in Canberra.</p> <p> “It will be 80% as early as 2017 and older demographics are close behind. We cannot afford to be complacent about the impact of this shift. Add to that the local aspirations of global content makers and distributors, rising costs and declining returns - and there will be plenty to think about.</p> <p> “But thankfully, there actually is a silver bullet solution. If you understand your audiences, and provide them with compelling Australian content, where and when they want it, you have a great future. Public broadcasters can do that - and Australia needs us to do that.” The former SBS executive paid tribute to his predecessor Kim Dalton for commissioning more than 91 hours of quality local drama in 2011/2012. “The ABC’s aim is to continue to increase the volume and diversity of drama on our screens,” he said.</p> <p> Among upcoming productions he mentioned Parer, the story of the legendary WW2 filmmaker Damien Parer who was killed in action, and a miniseries based on the Kate Grenville novel The Secret River.</p> <p> He observed there had been a 230% increase in children’s content over three years helped by increased Government funding and Screen Australia’s investment, citing such shows as Dance Academy, a co-production with Werner Films and ZDF, My Place, Giggle and Hoot, Studio 3, Prank Patrol and Rush TV.</p> <p> “While the ratings are spectacular, kids are heading inexorably away from scheduled TV. The ABC is there for them with iView, new ABC3 and ABC4Kids portals and great experiential and educational apps like the Play School Art Maker,” he said.Œ</p> Tue, 18 Jun 2013 12:05:28 +1000 http://if.com.au/2013/05/30/article/Bryan-Brown-and-Sam-Neill-go-Old-School/NCNOWSBQKN.html http://if.com.au/2013/05/30/article/Bryan-Brown-and-Sam-Neill-go-Old-School/NCNOWSBQKN.html Staff Writer <p> Bryan Brown and Sam Neill will star in Old School, an ABC series in the vein of the BBC comedy-drama New Tricks. Brown will play Ted, a retired cop, with Neill as Lennie, an ex-crim. The odd couple turn sleuth to solve crimes, unravel scams and earn much-needed dosh.</p> <p> The cast includes Sarah Peirse as Ted’s feisty, sports-mad wife; Hanna Mangan Lawrence as Lennie’s granddaughter Shannon; Mark Coles-Smith as Jason, the mechanic son of one of Lennie’s prison mates; and Damian Walshe-Howling as a charming opportunist who woos Shannon.</p> <p> The show was created by Paul Oliver and Steve Wright and will be produced by Matchbox Pictures’ Helen Panckhurst and exec produced by Tony Ayres and Penny Chapman.</p> <p> Production of the eight-part series starts in Sydney in June with the directing chores shared by Gregor Jordan (Two Hands, Buffalo Soldiers), Peter Templeman (Not Suitable For Children) and Oliver.</p> <p> Global sales outside Australia will be handled by NBCUniversal International, which owns 60 per cent of Matchbox, producers of The Slap, Underground - The Julian Assange Story and The Straits.</p> <p> Matchbox has a busy slate, including reality shows The Real Housewives for Foxtel and Formal Wars for the Seven Network, the ABC’s children’s drama Nowhere Boys, drama series Devil’s Playground for Foxtel and Ayres’ theatrical feature Cut Snake, which will star Sullivan Stapleton and Ryan Kwanten.</p> Thu, 30 May 2013 13:41:17 +1000 http://if.com.au/2013/05/29/article/ACMA-invites-public-comment-on-broadcasting-codes/WDREJAEGFZ.html http://if.com.au/2013/05/29/article/ACMA-invites-public-comment-on-broadcasting-codes/WDREJAEGFZ.html Don Groves <p> Gretel Killeen, Media Watch’s Jonathan Holmes, 2UE’s John Stanley and Australian Press Council chairman Julian Disney will take part in community forums next month which will review and debate the radio and TV broadcasting codes.</p> <p> Organised by the Australian Media and Communications Authority, the six sessions will delve into such issues as privacy, decency, accuracy, balance and fairness, complaints handling and classification and the time-shifting audience.</p> <p> “Are the formal broadcasting codes that shape the boundaries of media keeping up with rapid changes in technology, social trends and demography, and community expectations?” said ACMA chairman Chris Chapman on its Engage website (<a href="http://engage.acma.gov.au/">http://engage.acma.gov.au/</a>). “We want to hear your views, so next month we’re holding a series of public forums called Citizen Conversations to explore this question.Œ</p> <p> “It’s broadly accepted that the internet and the fast-moving social media are challenging traditional broadcasting advertising models and programs, driving different news cycles and generally pushing broadcasters to adapt to meet audience and business needs.</p> <p> “This suggests new issues to consider. For example, it seems to a casual observer that product placement is now much more widespread in programs. Is that observation correct and, if it is, should this be disclosed? Is there enough transparency?</p> <p> “In a world where anyone can blog, does this change how we feel about the real or perceived influence of high-rating radio announcers—and, in any event, do they really need to be fair and balanced? Should the principle of fairness apply to opinions?</p> <p> “And what about the impact of citizen journalism and ‘instant media’ like Twitter and Instagram on the traditional notions of accuracy in broadcast news reports? How is that phenomena to be accommodated?</p> <p> “The question we’re asking is whether the regulation is keeping up with these changes. In this new media landscape, can the codes be better targeted? Are there are just so many code prescriptions that it’s difficult to weigh through what’s important and what’s noise?”</p> <p> The forums, which begin June 6, will be held at the ACMA’s Sydney office in Pyrmont and streamed live on the web. Among the other commentators who will participate are Jane Caro, Waleed Aly and Chis Berg of the Institute of Public Affairs.</p> Wed, 29 May 2013 17:02:19 +1000 http://if.com.au/2013/05/17/article/Troubled-Waters-Jane-Campion-on-Top-of-the-Lake/OPAAWLSUSM.html http://if.com.au/2013/05/17/article/Troubled-Waters-Jane-Campion-on-Top-of-the-Lake/OPAAWLSUSM.html Brendan Swift <p> It’s mid-December and Jane Campion is three days away from finishing post-production on the final episode of TV series Top of the Lake. We’re sitting in See-Saw Films’ Paddington office and she’s looking at her phone reading a message from leading lady Elisabeth Moss. She’s pleased and Moss is ecstatic. “‘Jane, you can have whatever you want... you can have my first-born child. I just watched the first two episodes: I’m completely blown away, I’m speechless.’”</p> <p> It’s a ringing endorsement from the American actor whose casting nearly turned the New Zealand-set production on its head before a single frame was even shot. Moss plays Robin Griffin, a straight-talking detective called into investigate the mysterious disappearance of a pregnant twelve year-old in Top of the Lake, Campion’s six-part crime mystery involving lashings of murder, drugs and sex.</p> <p> For the director, Moss’ initial audition was little more than an “experiment” following a long list of Antipodeans. “She very quietly made it riveting and everybody felt she could make it work. There was a lot of discussion about accents as per usual but I’ve always had good luck with accents and confidence about them and knowing someone’s got a good ear they can get there.”</p> <p> The casting of her enigmatic “Mona Lisa” may have cost the production the support of the ABC but was central to the artistic vision that underpins Campion’s first foray into television in more than 20 years. (Her 1990 film An Angel at my Table – about New Zealand novelist Janet Frame – was originally filmed as a three-hour TV miniseries special before being reedited for the big screen.)</p> <p> Her unique work has consistently focused on the lives of women who reside outside of mainstream society in films such as The Piano, Bright Star, In The Cut and Holy Smoke! Campion herself is one of just four women to be nominated for best director at the Academy Awards (she won for best screenplay) and the first to win the Palme d'Or at the Cannes International Film Festival for The Piano in the early-90s.</p> <p> It was Campion’s unique style that BBC controller of drama, Ben Stephenson, first wanted to bring to television screens. His directions were simple: “We want you to be completely yourself – as creative, as dangerous, as out there, as on-the-edge as you can be,” according to Campion. “So that’s a very different invitation than what you normally get: ‘Make it popular’.”</p> <p> By Campion’s side was co-writer Gerard Lee, who she first worked with on her debut feature film Sweetie in the late-80s. “I wasn’t sure how serious Jane was because you know [laughs] I’m just a nobody. I was sort of living on this island off Brisbane with a lot of very strange folk and I’d kind of almost forgotten about being a writer. I was being a dad and stuff like that.”</p> <p> Campion describes Lee as one of the great storytellers like US author David Sedaris. “There was an ease to it and I thought if Gerard would do this with me we could do it – I didn’t want to do it by myself. And I couldn’t really imagine doing it with anyone else.”</p> <p> Directing duties were also shared, this time with newcomer Garth Davis – a new experience for Campion.</p> <p> “You have to find the person that is correctly positioned. People like David Michôd [Animal Kingdom] and Justin Kurzel [Snowtown], well, they’d really created their vision and they needed to go on and make their second features and do other stuff and, even though we could have given them a lot of experience directing – which everybody appreciates – they want to do their own thing. Garth had done amazing commercials and short films but for some particular reason he really identified with the material: the women’s camp, and understood the humour and the tenderness as well as the darkness...”</p> <p> Davis, who has directed several TV commercials including the award-winning Toohey’s Nocturnal Migration, also took the production into some more controversial territory: actors killing sheep (Lee says the sheep were going to be killed regardless). “That’s a pretty new experience for urban actors and they did it – it wouldn’t be something I’d suggest,” Campion says. “I’d be a bit timid to do something so radical but Garth’s quite radical. It’s a ‘guy thing’ I think too.”</p> <p> Aside from Moss, Top of the Lake drew an impressive cast including Holly Hunter (her first collaboration with Campion since her Academy Award-winning performance in The Piano), BAFTA-nominee Peter Mullan (War Horse), AFI Award-winning actor David Wenham (300), Thomas M Wright (Balibo), Genevieve Lemon (Sweetie), theatre actress Robyn Nevin, Robyn Malcolm (Rake), Jay Ryan (Offspring), Kip Chapman (The Cult) and Madeleine Sami (Super City). Just who kills the sheep is yet to be revealed.</p> <p> While the pace was more gruelling than a feature – an 18-week shooting schedule – Campion says she relished the freedom. Top of the Lake is part of a growing trend of complex drama being brought to the small screen rather than cinemas: TV series such as Deadwood, Mad Men and The Killing. Campion cites 2004 crime-thriller documentary The Staircase as a particular inspiration for Top of the Lake.</p> <p> “Its length is six-hours and I felt like it really held me. That’s what we’re trying to do: it’s not like an episodic thing so much as a story which grows and grows... we want to give people that accelerated need to know what’s going to happen.”</p> <p> The crossover – bringing cinematic storytelling to a TV drama – was recognised by the Sundance Film Festival, which screened the series in one six-hour session. It was the first time the prestigious festival included a scripted long-form series in its line-up. “It’s like being force fed a whole novel in a day and all you have to do is sit there and look at it,” Lee says.</p> <p> Moss clearly needs no such forcing. Campion continues to read the message from her leading lady: “‘I was on the edge of my seat – I couldn’t breathe. I was grinning like a fool at the end of episode two knowing what was coming... I have to see the rest. Jane, it looks like we did it didn’t we – we made something really good, didn’t we.’”</p> <p> This article first appeared in IF Magazine issue #151</p> Fri, 17 May 2013 09:04:16 +1000 http://if.com.au/2013/05/09/article/Director-Varcha-Sidwell-on-new-ABC1-series-Holy-Switch/EYYSFDROVL.html http://if.com.au/2013/05/09/article/Director-Varcha-Sidwell-on-new-ABC1-series-Holy-Switch/EYYSFDROVL.html Emily Blatchford <p> Filmmaker Varcha Sidwell had set herself a difficult task. Not only did she have to find six young people of different religions – who were each strongly committed to their faith - she then had to convince them to trade lives for two weeks. This is the premise of new ABC1 show Holy Switch, the experimental three-part series airing on ABC1 from this Sunday evening. (May 12). The participants include an Australian Muslim, Jewish, Catholic, Anglican, Buddhist and Hindu, each of whom claim their religion is a central aspect of their life and community. “It isn’t just about switching religion, it was about switching culture, place and lifestyle,” says director Sidwell, herself a practicing Catholic. “I was very interested in what happens in that situation.”</p> <p> Sidwell looked nation-wide for her six young participants, who hail from Tasmania, Sydney, Melbourne and the Queensland hinterland.Œ</p> <p> “When we first started looking for people we actually thought, ‘Where are we going to find people of that age group?’ so we thought we’d start looking at universities, call out to different faith groups, the interface communityˆ and [through all of these we found] personal contacts who started contacting other people,” she says.</p> <p> “It was very much word of mouth.”Œ</p> <p> However, the battle didn’t end once Sidwell found a willing participant.Œ</p> <p> “It was very difficult convincing the families and communities to participate, which I can understand. There is a natural scepticism of how they may be dealt with. It was much better to get individual switches to agree rather than whole communities.</p> <p> “It’s a huge credit to those who let us come in and let us film what they have to offer and what they do. It’s a very intimate setting – family life.” </p> <p> The switches will see a Western Sydney Maronite Catholic trade places with a Buddhist who lives in a rural Queensland retreat; a committed Anglican youth leader live in a Hindi household (and experience the vegan diet that comes with it) and a young Jewish woman step change places with a committed Muslim.Œ</p> <p> As Sidwell points out, it’s not only the religious differences that take getting used to, but a whole new lifestyle, community, and, at times, diet and climate.Œ</p> <p> “But they all committed themselves to doing it, none of them were prepared to bail out,” Sidwell says. “I think a lot of the time it was not so much the religion difficulty but the culture and being homesick at the end of the day.”Œ</p> <p> It turned out to be a challenging and moving experience for Sidwell, who says she was constantly surprised at circumstances which occurred throughout the shoot.Œ</p> <p> “People just don’t do what you expect. I had no idea that Freeman the Buddhist would find the relationship with the mass and the worship of Jesus and Mary so resonant with his Buddhist faith. That was quite surprising to me. I was really moved myself when [Anglican] Kim is crying overˆ she’s really worried about the spiritual fate of the [Hindu] family she’s staying with, which she’s come to really grow to love.</p> <p> “It was just totally unexpected.”</p> <p> For those watching the show, Sidwell says she hopes they will be able to put faces to the different religions and be inspired by Australia’s multi-cultural society.Œ</p> <p> “I found it quite amazing to think we’ve got so many different communities and faith groups being able to practice their culture and religion and get onˆ. in so many other countries you couldn’t have this,” she says.Œ</p> <p> “It’s inspirational for me.Œ</p> <p> “I am hoping the audience will see those people in their early twenties and see their faith and tradition and think, ‘There is something of value there.’ Even if they don’t agree with it.”Œ</p> <p> Holy Switch will premiere this Sunday on ABC1 at 6pm. Œ</p> Thu, 09 May 2013 16:50:50 +1000 http://if.com.au/2013/05/09/article/Network-Ten-commissions-Australian-version-of-US-series-The-Bachelor/AEBSWZCQQQ.html http://if.com.au/2013/05/09/article/Network-Ten-commissions-Australian-version-of-US-series-The-Bachelor/AEBSWZCQQQ.html Emily Blatchford <p> Popular US reality series The Bachelor is coming to Australia. Network Ten announced it has commissioned an Australian production of the show, to be produced by Shine Australia.Œ Network Ten Chief Programming Officer, Beverley McGarvey, says, “The Bachelor is one of the longest-running and most successful television franchises in the world, with productions in 24 countries. We are thrilled to be working with Shine to take this iconic show and create a uniquely Australian entertainment event.” Shine Australia Chief Executive Officer, Mark Fennessy, says,“There are few marquee brands which have enjoyed the same connection with audiences worldwide as The Bachelor. We're delighted to bring this brilliant series to Australian viewers and look forward to introducing our very own Prince Charming." The Bachelor follows a single bachelor and a number of bachelorettes who all claim to be looking for love. Over the weeks, the bachelor presents his favourite ladies with a red rose during an elimination process which will eventually whittle down the bachelorettes to just one. Network Ten are currently calling for interested bachelors and bachelorettes to register their information hereŒ<a href="http://dating.castasugar.com">http://dating.castasugar.com</a> The Network plans to start production on the series shortly and says it will hit Australian screens later this year.Œ</p> Thu, 09 May 2013 11:39:10 +1000 http://if.com.au/2013/05/06/article/SBS-commissions-long-form-interview-series-to-be-hosted-by-Ellen-Fanning/IXLWOBWYMZ.html http://if.com.au/2013/05/06/article/SBS-commissions-long-form-interview-series-to-be-hosted-by-Ellen-Fanning/IXLWOBWYMZ.html Inside Film Correspondent <p> Australian journalist Ellen Fanning will host a new interview series, The Observer Effect, which has been commissioned by the SBS, it was announced today. The 20x60-minute series, produced by Shine Australia, will be broadcast from June 2, 2013 and will invite high-profile Australians to offer their personal opinions on the news and current affairs of that week. In a statement released by the SBS, the broadcaster stated, “By viewing news and events through the eyes of ‘the observer’, the audience will get to know who they are beyond the 24 hour news headlines - whether politician, author, journalist, business leader, academic or philosopher.” SBS Managing Director Michael Ebeid said, “Through The Observer Effect, we wanted to create a show that would continue to build on SBS's reputation for content which provokes debate by bringing audiences a fresh and edgy take on the issues Australians are talking about, and gives them a new insight into the real personalities and perspectives of our prominent Australians.” Shine Australia CEO Mark Fennessy said, “This is an exciting project for Shine. We’re looking forward to bringing to life the long-form interview through meaningful discussion and analysis that genuinely resonates. In this election year it’s essential to go beyond the spin, and by having a stellar team of writers and researchers plus extraordinary guests who influence our national conversation, we have every ambition to make this an appointment to view television each week.” Ellen Fanning said, “A show like this is so critical in an age dominated by 140 characterŒmessages and a dizzying 24 hour news cycle. We will give leading Australians time to reflect on the state of the nation and to vigorously debate the critical issues in this election year. It's a raretreat for an interviewer to have the best part of an hour on prime time TV. I'm honoured that SBS has given me the role."</p> Mon, 06 May 2013 16:30:30 +1000 http://if.com.au/2013/05/03/article/Shooting-on-the-road-the-making-of-Leongatha/GXMEHYCVLM.html http://if.com.au/2013/05/03/article/Shooting-on-the-road-the-making-of-Leongatha/GXMEHYCVLM.html Yuan Liu <p> After the success of mockumentary series It’s Not You. It’s Bree, Channel 31’s writer and producer Shane Dunlop is now bringing another comedy Leongatha to TV audiences.</p> <p> Spanning six weekly episodes, the show features a family road trip to a little town in the south-eastern countryside of Victoria, named Leongatha. It turns out to be a never-ending journey delayed by unexpected situations.Œ</p> <p> Dunlop readily admits the show is largely based on personal experience. “Basically it’s about a struggling filmmaker who’s recently had a relationship breakdown,” Dunlop explains. “And he is asked by his cousin to film his wedding which takes place in a country town called Leongatha.” But Denny, the protagonist in the story, first has to get to another town to meet various members of his extended family before they all get into a mini bus and travel across the country together. Things do not go as planned and the motley crew will come across various obstacles before they reach the final destination.Œ</p> <p> “That is the idea behind the story,” Dunlop says. “A cross-country trip on a bus with all your family members, heading to a wedding during a time when you are not necessarily in the best frame of mind to film somebody else’s wedding.”Œ</p> <p> Different from It’s Not You. It’s Bree, Leongatha takes a more traditional narrative approach, telling a story that takes place in a twelve-hour time frame. Like the characters, Dunlop and his crew hopped on a minibus in November last year and started a five-day shooting trip on location in South Gippsland.Œ</p> <p> According to Dunlop, one of the big hurdles with shooting on a moving vehicle is the limited space. “We had cameras, sound people as well as the family characters themselves, all in the same bus that was travelling along the country road, with all the bumps and all the turns. There were quite a few scary moments. I’m sure we may not have been operating under the strict occupational health and safety rules and guidelines,” he laughs.Œ</p> <p> Moreover, developing a TV show which happens through the course of one day means the actors needed to maintain the same look throughout the filming process. “We had to make sure that we could shoot in November and continue in January and February,” Dunlop says. “So we are talking about a four-month span where we had to ensure that our cast was able to maintain their appearances without losing any continuity. When you see them in the fifth episode, they don’t look so different from the way they look in the fourth because in the series, it takes place 20 minutes after. It would also be a problem if was raining one day and sunny the next. But we got lucky and the weather was great while we were away.”</p> <p> For Dunlop and his crew, the most difficult part in creating Leongatha was finance. Though awarded a grant from the Community Broadcasting Foundation, the producer realized they would have to work on a shoestring if they could not find any other funding sources. Besides running an Indiegogo crowd-sourcing campaign online, the production team had to get creative with how to organize the catering and accommodation.</p> <p> Nevertheless, they were fortunate enough to receive a lot of support from the local community in Leongatha, a region that is seldom chosen as the location of television series. “The local communities were pretty keen and excited that there’s a series with the town’s name in its title and it features a lot of landmarks from that particular area in Victoria which doesn’t get lots of publicity,” Dunlop says. “The local support really helped us achieve the goal without requiring the kind of budget that normally would be required to have 20 people on location for a week.”Œ</p> <p> Despite all the bumps and turns, the journey of the Leongatha crew terminated with a happy ending. “We certainly had a lot of fun while we were on location. As far as any hiccups or misadventures, we actually were quite ok. We haven’t had anything happening that was ridiculously out of control. I think most of the people that were involved, including the cast and crew, actually played as a family, living together and being away on location.”Œ</p> <p> From The Partridge & the Pear Tree and It’s Not You. It’s Bree to this year’s Leongatha, Dunlop has been producing content for Channel 31 since 2010. Turning from a short film director to a TV producer, Dunlop finds his experience in community TV to be one of the most important steps in his career. “The process of finding film festival audiences is costly, tedious and extremely difficult,” he says. “But I find in Channel 31 the various opportunities that community television provides. You are able to really put in the hard work to be able to find an audience, and through that you are able to get some legitimacy to have your productions broadcasted."</p> <p> Producing drama for community TV requires courage. “There are challenges in creating non-lifestyle programming,” Dunlop says. “I think what you find on community TV tends to be lifestyle programs such as fishing shows and car shows. But there tend to be very few comedies or fictions. I definitely feel like that you are disadvantaged if you are doing something that doesn’t have a niche market. If you are pitching a fishing show, you can probably get lots of funding from the fishing businesses. But as far as producing your own fictional program that fits into a more traditional framework, those opportunities don’t get presented a lot. So we were lucky to have the grant from Community Broadcasting Foundation which allowed us to make a series which I don’t see very often on community television. Without the funding, I wasn’t quite sure how successful we would have been in telling the story.”Œ</p> <p> “What we are hoping for next is to get some other ideas and television programs that we’d like to make. We’d like to be able to make them with a little bit more money behind them and move to the next level whether that’s with television or an established production company and ultimately network television. These are the things we’d like to be able to achieve and hopefully Leongatha is another step in that direction.”Œ</p> <p> Leongatha will air on Channel 31 in Melbourne and Geelong from Thursday 9th May 2013.</p> Fri, 03 May 2013 12:18:43 +1000 http://if.com.au/2013/05/02/article/Sarah-Keith-leaves-Fairfax-to-re-join-Network-Ten/WPAECFYPNV.html http://if.com.au/2013/05/02/article/Sarah-Keith-leaves-Fairfax-to-re-join-Network-Ten/WPAECFYPNV.html Emily Blatchford <p> Sarah Keith has joined Network Ten as Head of Research, Analytics and Inventory Management. Reporting to CEO Hamish McLennan, Keith’s role will include overseeing a newly formed department which the network says will cover “key areas in the company.” McLennan said, “Sarah is a highly experienced media executive, having worked for some of the best media companies in Australia and the UK. “She will play a key role in better valuing our audience delivery and optimising our inventory. The role of analytics and research will help us drive better engagement with our advertisers and media buying partners.” Keith, who is currenly employed as the Director of Ad Strategy and Operations at Fairfax Media, has worked for Network Ten before as a Commercial Airtime Manager. “I have worked in television for the majority of my career and have gained valuableŒinsights working at Network Ten, SBS, Fox Sports and Channel 4 in the UK,” Keith said. “I’ve been very impressed by the changes and drive at Network Ten, and the clear desire of everyone there to do things differently. TEN, ELEVEN and ONE are great brands with great potential, and I’m looking forward to being part of them.”</p> Thu, 02 May 2013 13:53:59 +1000 http://if.com.au/2013/04/29/article/Original-cast-members-return-for-series-2-of-Redfern-Now-shooting-starts-in-May/BQCSXJGVXU.html http://if.com.au/2013/04/29/article/Original-cast-members-return-for-series-2-of-Redfern-Now-shooting-starts-in-May/BQCSXJGVXU.html Emily Blatchford <p> The second season of award-winning series Redfern Now will commence filming in and around Redfern on May 1. Produced by Blackfella Films’ Miranda Dear and Darren Dale, alongside story producer Jimmy McGovern, the second instalment of the popular series will see many of the cast members reuniting to play their original characters. Those returning in season two include Wayne Blair, this year’s Most Outstanding Actress Logie winner, Deborah Mailman, Ursula Yovich, Lisa Flanagan, Stephen Curry, Dean Daley Jones and the AACTA Award-winning Leah Purcell. Adding to the mix will be Aaron Pederson, Craig McLachlan, Meyne Wyatt, Ernie Dingo, Steve Bisley, Sarah Woods and Tammy Clarkson. The first season of the show proved to be successful both with audiences and critics, and was nominated for five AACTA awards in 2013 (taking home the awards for Best Screenplay in Television and Best Lead Actress in a Television Drama) as well as scooping the Most Outstanding Drama Award at this year’s Logies. Sally Riley, Head of ABC TV’s Indigenous Department said, “Redfern Now season two will again be a highlight in ABC Television's schedule, with favourite characters returning, new families with dilemmas that will touch the hearts of audiences, and the wonderful storytelling by Australia's leading Indigenous creatives.” The second series will be written by Leah Purcell, Wayne Blair, John Bell, Adrian Russell Wills and the AACTA Award-winning Steven McGregor, and directed by Wayne Blair, Leah Purcell, Rachel Perkins, Beck Cole and Adrian Russell Wills. Miranda Dear said, “We are so thrilled to have attracted a cast and crew of this calibre. It is a testament to the power of the writing, the resonance of the stories and the success of the first season.” Redfern Now is produced by Blackfella Films’ Darren Dale and Miranda Dear, and presented by ABC TV and Screen Australia in association with Screen NSW.Œ</p> Mon, 29 Apr 2013 11:11:18 +1000 http://if.com.au/2013/04/24/article/Rick-Kalowski-of-Quail-Television-appointed-Head-of-Comedy-at-ABC/GNTSPRZDHL.html http://if.com.au/2013/04/24/article/Rick-Kalowski-of-Quail-Television-appointed-Head-of-Comedy-at-ABC/GNTSPRZDHL.html Emily Blatchford <p> ABC TV has today announced the appointment of Rick Kalowski as the Head of Comedy. Kalowski, who previously worked as a lawyer and who currently holds the title of Creative Director for Quail television, has extensive experience creating, writing and producing both international and Australian television projects. Most recently, Kalowski was involved in the top rating series At Home with Julia (ABC1) which earned him an AACTA Award nomination for Best TV Comedy Series and two Australian Writers’ Guild Award nominations for Outstanding Comedy Writing. Carole Sklan, ABC TV’s Head of Drama said, “We're delighted Rick is joining ABC TV as Head of Comedy. He is passionate about Australian comedy and brings considerable creative skills and experience to the role. Rick has written and produced hours of sketch and narrative comedy. He also has a background in the law which seems to have only enhanced his sense of humour.” Kalowski said, “I’m hugely honoured and excited to be joining ABC TV as Head of Comedy. The ABC’s greatest comedy shows have been foundation experiences in my life, both as a viewer and a writer, and the opportunity to help continue that tradition is truly a privilege. Hopefully I don’t wreck the joint”.</p> <p> Kalowski will take on his new role in the second half of this year. In the meantime, ABC Fiction will continue to manage the comedy slate.Œ</p> Wed, 24 Apr 2013 16:37:57 +1000 http://if.com.au/2013/04/24/article/ScreenWest-AWG-announce-2013-Tele-Navigator-Development-Program/OPLWZGOTHN.html http://if.com.au/2013/04/24/article/ScreenWest-AWG-announce-2013-Tele-Navigator-Development-Program/OPLWZGOTHN.html Emily Blatchford <p> ScreenWest yesterday launched the 2013 Tele-Navigator Development Program, aimed at supporting the development of television content in Western Australia. The Program, presented in association with the Australian Writers Guild, is designed for projects which can be made in Western Australia. Up to six television projects (television drama or comedy series, telemovies or miniseries) will be chosen to participate in the Tele-Navigator Conference Week held from 15-19 July. Though projects at any stage of development are eligible for entry, the idea is for a team of industry professionals to work with early-stage ideas to develop them from the ground up. Sue Taylor and Sue Masters have already been announced as two of the three producing mentors, with another three writing mentors to be revealed in coming weeks. Writers, directors and producers are welcome to apply as individuals or as a team The deadline for applications is 5:00pm Monday, 27 May 2013.</p> <p> For more information visitŒ<a href="http://screenwest.com.au/go/screenwest-funding-program/tele-navigator-development-program-tv-series">http://screenwest.com.au/go/screenwest-funding-program/tele-navigator-development-program-tv-series</a></p> Wed, 24 Apr 2013 11:02:07 +1000 http://if.com.au/2013/04/24/article/Neighbours-crew-win-right-to-right-to-bargain-for-enterprise-agreement/SFIKNKYDUC.html http://if.com.au/2013/04/24/article/Neighbours-crew-win-right-to-right-to-bargain-for-enterprise-agreement/SFIKNKYDUC.html Inside Film Correspondent <p> The crew on Neighbours have won the right to bargain for their first enterprise agreement after a year-long campaign. </p> <p> In a statement on their website, the Media, Entertainment and Arts Alliance reported union membership had grown to just under 50 of the 100 crew on site, and that “magnified members have pulled off a massive demonstration of collective action and got management to agree to bargain.”</p> <p> Over 100 signatures out 120 workers (including casuals) collected in the space of a week were presented to FairWork in a majority support determination submission.Œ</p> <p> This led to management reconsidering its earlier statement that it wouldn’t bargain, and negotiations are expected to commence in the coming weeks.</p> <p> For more information, visit the MEAA website here: <a href="http://www.alliance.org.au/">http://www.alliance.org.au/</a></p> Wed, 24 Apr 2013 09:53:47 +1000 http://if.com.au/2013/04/22/article/ABC1-commissions-new-late-night-comedy-show-Wednesday-Night-Fever/GILMWAJTAZ.html http://if.com.au/2013/04/22/article/ABC1-commissions-new-late-night-comedy-show-Wednesday-Night-Fever/GILMWAJTAZ.html Emily Blatchford <p> ABC1 has commissioned a new late night weekly comedy series entitled Wednesday Night Fever. </p> <p> From Quail Television, the creators of ABC1’s popular At Home with Julia, Wednesday Night Fever will feature a number of satirical characters, political impersonations and live music performed by an ensemble cast in front of a live audience.Œ</p> <p> Already demonstrating some of the show’s no-holds-barred humour, Creator/Executive Producer Rick Kalowski says, “Defamation lawyers contemplating a first class ski trip to Aspen should book with confidence. This is your year.”</p> <p> Executive Producer Greg Quail spoke of the troubles associated with casting the series, explaining, “We’re still searching for performers willing to join the witness protection program right after the first episode goes to air.”</p> <p> “Wednesday Night Fever promises to entertain and delight audiences with a provocative mid-week serve of satire and musical comedy,” said ABC TV’s Head of Entertainment, Jennifer Collins.Œ “There’s a new wave of young comedic talent in Australia and this series is the perfect vehicle to showcase them, while playing alongside some of Australia’s more established comedians.” Wednesday Night Fever is a Quail and ABC TV co-production for ABC1. Quail Television Executive Producers are Rick Kalowski and Greg Quail. ABC Executive Producer is Sophia Zachariou.</p> <p> The full cast is expected to be announced in coming weeks.Œ Wednesday Night Fever will air mid-2013 on ABC1.</p> Mon, 22 Apr 2013 16:54:11 +1000 http://if.com.au/2013/04/22/article/Production-set-to-begin-on-ABC1-telemovie-Carlotta-starring-Jessica-Marais/LJJWXJSNSF.html http://if.com.au/2013/04/22/article/Production-set-to-begin-on-ABC1-telemovie-Carlotta-starring-Jessica-Marais/LJJWXJSNSF.html Emily Blatchford <p> Jessica Marais will star as transgender Les Girls performer Carlotta in a new telemovie for ABC 1. Carlotta follows the life of the transgender pioneer, who was born as Richard Byron before transforming into Carol and, on stage, Carlotta in the 1970s. Written by David Hannum, with story consultation from Carlotta, the film will be directed by Samantha Lang (My Place, The Monkey’s Mask) and will feature an acclaimed cast, including Caroline O’Connor, Alex Dimitriades, Anita Hegh, Eamon Farren and Paul Capsis. Carlotta will be produced by Riccardo Pellizzeri (Underbelly: NZ, Siege, MDA, Blue Heelers) and Lara Radulovich (Wentworth, Neighbours) with the ABC’s Carole Sklan and Christopher Gist as executive producers. Developed by Pellizzeri and Radulovich, Carlotta is being produced by their new production company Story Ark Productions. Producers Lara Radulovich and Riccardo Pellizzeri said, “This has been a passion project of ours for many years and we are delighted to be bringing Carlotta’s story to the screen. A love story and an outsider tale about an exceptional woman’s desire to be ordinary, hers is an extraordinary life, lived in changing times.” Story consultant Carlotta said “I am absolutely delighted and flattered that this story is being brought to the screen as my main motivation is to show anyone who may be struggling with their gender, or struggling to gain acceptance from their family and society at large - that you can do it. Stand tall, know who you are and be proud of yourself, as acceptance comes from within." ABC TV Head of Fiction, Carole Sklan said, “The ABC has been dramatising stories of remarkable Australians, from Eddie Mabo to Bernie Banton, individuals who have gone against the grain and contributed to social change. We are thrilled Jessica Marais is playing the remarkable Carlotta.”</p> <p> Carlotta will begin production on May 6 and will be shot in Sydney.Œ</p> Mon, 22 Apr 2013 15:53:33 +1000 http://if.com.au/2013/04/19/article/ABC-TV-announces-follow-up-series-to-A-Moody-Christmas/MXNLOKZSJI.html http://if.com.au/2013/04/19/article/ABC-TV-announces-follow-up-series-to-A-Moody-Christmas/MXNLOKZSJI.html Emily Blatchford <p> The Moody family will be returning to Australian television screens in a follow-up series to the popular comedy A Moody Christmas. ABC TV yesterday confirmed the second series has been given the green light, with scripting currently underway and production slated for later this year in Sydney. The new series will go under a different name but will still focus on the Moody clan and will be based around significant moments in the family’s year. Produced by Jungleboys in association with ABC TC, the 8X30 minute series will reunite some of the original creative team, including Trent O’Donnell, Phil Lloyd and Executive Producer, Jason Burrows. ABC TV Head of Fiction Carole Sklan said: “After spending Christmas with the Moodys we are now delighted to bring audiences a year in the much loved family’s life – eight important occasions brimming with the keenly observed humour, recognisable incidents and heightened flourishes we’ve come to expect from Trent, Phil and the Jungleboys team.” Burrows said, “The feedback we've had on Moody has been amazing, and everyone is really excited about the second series. Moving outside of the Christmas theme will give Trent and Phil a lot more scope to explore the dysfunctionality of the family, but again it will have a lot of heart.”</p> Fri, 19 Apr 2013 10:43:31 +1000 http://if.com.au/2013/04/19/article/Matt-McGrath-joins-Network-Ten-as-Chief-Brand-Officer/ZGXAIRCJWO.html http://if.com.au/2013/04/19/article/Matt-McGrath-joins-Network-Ten-as-Chief-Brand-Officer/ZGXAIRCJWO.html Inside Film Correspondent <p> Network Ten has appointed Matt McGrath in the newly created role of Chief Brand Officer. McGrath, previously the Chief Executive Officer and Executive Chairman of Y&R Brands Australia and New Zealand, will be responsible for brand communications, marketing and promotions for the network. Network Ten Chief Executive Officer, Hamish McLennan, said: “I have known Matt for many years and he is without doubt one of the best creative and strategic minds in the Australian media and marketing sector. “I am delighted he has agreed to join Network Ten to work on our external and internal marketing, including our messaging around our core programs. “Matt will create a consistent view of our brand, on and off air, and bring innovative thinking to howwe communicate with consumers and advertisers.”</p> Fri, 19 Apr 2013 08:51:48 +1000 http://if.com.au/2013/04/18/article/Nigel-Miller-appointed-General-Manager-of-Screentime-Communications/GFJOTURPDQ.html http://if.com.au/2013/04/18/article/Nigel-Miller-appointed-General-Manager-of-Screentime-Communications/GFJOTURPDQ.html Emily Blatchford <p> Founder of Silver Wolf Productions Nigel Miller has joined Screentime as General Manager of Communications. </p> <p> Miller, who previously co-founded Pinstripe Media, has worked in the communications arena for a number of years and says he is thrilled to take on his new role at the television production company.Œ</p> <p> "I am excited to work with an established brand to build it further into the corporate arena and by the opportunity to partner with Screentime to fast-track the development of a range of innovative app and online products,” Miller says.Œ</p> <p> Adds Bob Campbell, CEO of Screentime, “"We are delighted Nigel has accepted the challenge of both working with Screentime Communications' established client list and further developing this aspect of our business including the establishment of Screentime Digital.”Œ</p> <p> Screentime Communications was established three years ago and offers a range of corporate communications services including video production, event management, electronic newsletters and communications training.Œ</p> <p> Miller’s role with the company will see him manage the current client base as well as establish Screentime Digital, a new joint venture between Screentime and Silver Wolf productions which will focus on the development of self-commissioned and third party apps and online offerings.Œ</p> Thu, 18 Apr 2013 10:25:09 +1000 http://if.com.au/2013/04/04/article/Ten-announces-release-of-Offspring-app/WXISUTZSFA.html http://if.com.au/2013/04/04/article/Ten-announces-release-of-Offspring-app/WXISUTZSFA.html Emily Blatchford <p> Network Ten has capitalised on the success of drama series Offspring by releasing a corresponding app entitled Offspring: Moving In. The free app, announced today, will provide fans with puzzles, exclusive scenes and information about a character yet to appear on the show. Network Ten’s Chief Digital Officer, Rebekah Horne, said: “Offspring fans have received exclusive content ahead of on-air broadcast throughout the entire series. This year, we are delighted to reward fans with something innovative ahead of the launch of Series Four.” The decision to create the app reflects an industry-wide evolution toward multi-platform content. Horne said Offspring had already enjoyed strong audience engagement through their social media sites and the network wanted to enhance that level of communication.</p> <p> “Offspring’s social extensions are hugely popular, with audiences increasingly engaged from series to series. The addition of Offspring: Moving In should deepen the level of engagement with TEN’s hit Australian drama,” she said. The first series of Offspring screened on Channel 10 in 2010. The show was renewed for a fourth and fifth season on July 12 last year. Offspring: Moving In is powered by Intel and is available to download from Apple iTunes app story and Google Play from today.Œ</p> Thu, 04 Apr 2013 16:56:08 +1100 http://if.com.au/2013/04/04/article/A-Current-Affair-in-hot-water-after-ACMA-picks-holes-in-Neil-Brooks-story/CGMHPXZXKJ.html http://if.com.au/2013/04/04/article/A-Current-Affair-in-hot-water-after-ACMA-picks-holes-in-Neil-Brooks-story/CGMHPXZXKJ.html Emily Blatchford <p> Channel Nine’s A Current Affair is under fire from the Australian Communications and Media Authority after the organisation found the program to have breached provisions on factual accuracy, privacy and complaints handling.</p> <p> The story in question, presented by reporter Amanda Paterson in March last year and running over 19 minutes, concerned former Olympic gold medallist Neil Brooks and his wife.</p> <p> ACMA’s 32-page investigation report, released today, found that “the program had insufficient evidence to support its claim during a 5 March, 2012 broadcast that police in Australia, the United States and France were investigating allegations of fraud against the former swimmer and his wife.”Œ</p> <p> The ACMA also found the program had breached the privacy of Brooks’ wife by showing her driver’s licence and French address on camera and that the program had failed to adequately respond to the complaints of Brooks after the segment went to air.Œ</p> <p> However there were also a number of alleged breaches ACMA has dismissed, namely because they were not considered to be “factual material,” had inconclusive evidence or that an “ordinary reasonable viewer” would not interpret statements as fact.Œ</p> <p> For instance, statements from Paterson such as “The gold medal Olympian turned gold medal conman,” and “[The Brooks] are currently holed up in a villa somewhere hatching their next plan” were deemed by ACMA as “emotive, hyperbolic and/or opinion” and subsequently dismissed as breaches.Œ</p> <p> Channel Nine has accepted the organisation’s findings and will be acknowledging the incidents on their website.Œ</p> <p> Contact Emily Blatchford at eblatchford@if.com.au or on Twitter at @EmilyBlatchford</p> Thu, 04 Apr 2013 15:20:07 +1100 http://if.com.au/2013/04/02/article/Adelaide-the-seventh-region-in-Australia-to-convert-to-digital-only-television/IRWQYACEHF.html http://if.com.au/2013/04/02/article/Adelaide-the-seventh-region-in-Australia-to-convert-to-digital-only-television/IRWQYACEHF.html Staff writer <p> The city of Adelaide has officially made the switch to digital-only television.</p> <p> In an announcement made this morning, The Minister for Broadband, Communications and the Digital Economy, Senator Stephen Conroy, confirmed over half a million Adelaide households had crossed over to digital at 9am.</p> <p> “At 9am, over 560,000 households in Adelaide switched to digital-only TV, as analog signals across the Adelaide switchover region were switched off,” he said.</p> <p> “I would like to thank the local broadcasters for their support and assistance and congratulate Adelaide on a very smooth transition to digital-only free-to-air TV.</p> <p> “Adelaide is the seventh region in Australia to switch to digital-only free to air television, meaning Australia is well on the way to watching digital-only television by the end of this year.”</p> <p> Tasmania and Perth are scheduled to follow in Adelaide’s footsteps later this month, while Brisbane is due to make the switch in May.</p> <p> Remote and regional Western Australia should follow suit in June; Darwin in July and Sydney, Melbourne and Remote and Central Eastern Australia toward the end of this year.</p> <p> In his announcement, Senator Conroy expressed his enthusiasm for the new format, stating, “Australians are embracing the benefits of digital TV, with its 17 free-to-air channels and better quality picture and sound.</p> <p> “Nearly 8 million of a total 8.6 million households across the country are already watching digital TV.”</p> <p> For more information on converting to digital TV, visit the Digital Ready website <a href="http://www.digitalready.gov.au ">http://www.digitalready.gov.au </a></p> Tue, 02 Apr 2013 16:41:07 +1100 http://if.com.au/2013/03/26/article/ABC-TV-commissions-four-Indigenous-short-documentaries/XQIMLBPHPG.html http://if.com.au/2013/03/26/article/ABC-TV-commissions-four-Indigenous-short-documentaries/XQIMLBPHPG.html Inside Film Correspondent <p> ABC TV has commissioned four Western Australian Indigenous filmmakers to create positive and inspirational mini documentary stories encapsulating the theme of Seasons.</p> <p> It follows an announcement last September by the WA State Government that it had formed a partnership with the ABC TV's Indigenous Department to produce the short documentaries for ABC1.</p> <p> WA culture and the arts minister John Day said ScreenWest had invested $250,000 into the initiative to provide ongoing opportunities for WA Indigenous writers and directors.</p> <p> “It is a source of great pride for the Western Australian government to be supporting this initiative. We’re particularly proud that three out of four films are regional stories.</p> <p> “The applicants were encouraged to think outside the usual documentary format and explore new approaches to telling stories that will engage and entertain a national audience. ScreenWest have a great collaborative relationship with the ABC which enables these types of projects to come to fruition.”</p> <p> Following a writing/development workshop, the following filmmakers and their documentary projects were selected for production:</p> Tyson Mowarin, writer/director - Ngurra Wanggagu (Pilbara). A poetic and intimately observed love story about a day in the life of a family and the country that nurtures them. Dot West, writer, Kim West, director - Muster Up (Kimberley). An observational documentary set on a Kimberley cattle station where two young Aboriginal men try to find their place in life. Perun Bonser (first time filmmaker) writer/director – Unspoken (Perth). A dance documentary that explores artistic compatibility between Aboriginal and contemporary Australia culture. Karla Hart (first time filmmaker) writer/director – Magic Quandong (Great Southern). An observational documentary about a special fruit that brings a Noongar family together and makes them feel at one wherever they are. <p> The series will be produced by Joined Up Films, which specialises in documentary and factual television formats and series.</p> Tue, 26 Mar 2013 12:03:08 +1100 http://if.com.au/2013/03/26/article/New-law-raises-bar-for-importing-workers-on-Aus-film-and-TV-productions/KHZOADDZVY.html http://if.com.au/2013/03/26/article/New-law-raises-bar-for-importing-workers-on-Aus-film-and-TV-productions/KHZOADDZVY.html Inside Film Correspondent <p> New legislation will ensure that productions bringing people in to the country to work on Australian film and TV programs must demonstrate a net employment benefit for local crew and consult the union, according to the Media Entertainment & Arts Alliance.</p> <p> The new legislation (Migration Amendment Regulation 2013 (No. 1) closes a loophole that was exploited by the global sports industry to wholly import overseas television crews for the Phillip Island Motorcycle GP, MotoGP, the President’s Cup Golf tournament and the Superbikes as well as the Oprah programme, the MEAA said.</p> <p> “Victorian crew particularly felt the brunt of this exploitation of the visa system,” said Louise O’Connor, Victorian branch secretary. “Their strong feeling on this matter culminated in a demonstration last month outside the Department of Immigration and Citizenship. This new legislation will come as a great relief to the crew in our state.</p> <p> “We have some of the most talented and skills production workers in the world– all willing and to step up to the plate and work on the next major televised international sporting event. These changes will bring great benefits to Australian workers and small businesses.”</p> <p> The new regulations provide a strictly limited set of circumstances in which workers in the entertainment industry will be able to use a Subclass 400 visa and not a Subclass 420 visa including those working on television commercials that will never be shown in Australia and for those entertainers in Australia promoting a performance.</p> Tue, 26 Mar 2013 10:33:44 +1100 http://if.com.au/2013/03/26/article/AWG-slams-new-Australian-content-quota-bill/GHSWCJHWLV.html http://if.com.au/2013/03/26/article/AWG-slams-new-Australian-content-quota-bill/GHSWCJHWLV.html Andrea McCullagh <p> The Australian Writers’ Guild has branded the passing of a controversial broadcasting reform bill a disgrace – and believe it is an insult to TV audiences.</p> <p> The legislation sets new Australian content transmission quotas which, the production industry argues, will do little to protect local content.</p> <p> AWG executive director Jacqueline Elaine said: “After a farcical four days in Canberra since the media reform package was announced – this crucial piece of legislation determining the future of Australian stories on Australian screens was hurriedly passed without any meaningful discussion or debate.</p> <p> “Overshadowed by debate on press regulation, media concentration and even Labor Party leadership challenges, this legislation was not given the airspace it rightly needed as the primary instrument protecting the future of Australian stories on free-to-air television.”</p> <p> The Broadcasting Legislation Amendment (Convergence Review and Other Measures) Bill 2013 was passed by both Houses last week. The bill amends the Broadcasting Services Act 1992 and provides a range of measures to ensure Australian content is broadcast on the combined digital channels run by channels 7, Nine and Ten.</p> <p> It states that commercial broadcasters must broadcast at least 730 hours of Australian programs in the current calendar year on their digitial channels. This increases to 1095 hours for 2014 and 1460 hours from the start of 2015. The shows must also be broadcast during the targeted viewing hours from 6am to midnight. It also provides an incentive to broadcasters to show new drama by allowing one hour to count for two in the year’s tally.</p> <p> The AWG also pointed out that the minimum hours of Australian content can now be spread out across digital channels and argued that the obligation for Australian content could be filled up with repeats.</p> <p> “I think Australian drama is at an exciting place now but it won’t be in 12 months time. We are at a turning point. We have proven we have the capacity to produce children’s drama but we don’t have the broadcaster's support and now we don’t have the government support.</p> <p> “It will reduce the amount of high quality drama, that is our fearˆthis could easily end up as a race to the bottom.”</p> <p> The AWG believe that there needs to be government intervention to ensure that quality and culturally significant Australian shows continue to be made. They pointed out that these kind of shows are less profitable for TV broadcasters than other forms of programming.</p> <p> The Television Licence Fees Amendment Bill 2013 was also passed but the federal government dumped four of the six media reform bills after failing to secure enough backing.</p> <p> Elaine said: “If people were given the opportunity to understand this piece of reform they would understand that it’s just as contentious.</p> <p> “You need to balance the commercial interests of the broadcasters against the cultural imperatives of Australian stories.”</p> <p> Reaction on the issue was sought from the Department of Communications and the Shadow Communications Minister Malcom Turnbull.</p> Tue, 26 Mar 2013 10:24:11 +1100